By Eran Guter
Covers the most important techniques, arguments, difficulties and figures in aesthetics and the philosophy of art.
This creation to aesthetics presents a layered therapy of either the historic historical past and modern debates in aesthetics. wide cross-referencing indicates how concerns in aesthetics intersect with different branches of philosophy and different fields that examine the humanities. Aesthetics A-Z is a perfect consultant for rookies to the sector of aesthetics and an invaluable reference for extra complex scholars of philosophy, artwork background, media stories and the appearing arts.
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Extra info for Aesthetics A-Z (Philosophy A-Z)
When contrasted with romanticism, the reference to classicism is commonly meant to underscore its rationally bounded, universalist character, as opposed to the latter’s emphasis on the freedom of individual expression. See culture; style Further reading: Eliot 1945 cognitivism, aesthetic: The view that works of art may teach us about the world, that the knowledge that they afford is non-trivial, and that this capacity to afford this kind of knowledge determines to some extent their aesthetic value.
1915–85): American philosopher, one of the founders of the Anglo-American analytic tradition in aesthetics, who was closely associated with the literary circle known as the New Criticism. Beardsley’s magnum opus, Aesthetics: Problems in the Philosophy of Criticism (1958), is considered to be the most sustained and comprehensive philosophical defense of the New Criticism and one of the truly great achievements of AngloAmerican aesthetics in the twentieth century, incorporating pragmatist and phenomenological elements into the analytic idiom.
The idea of aesthetic autonomy has met with criticism in various contexts; for example, as propagating essentialism, formalism, or an amoral stance regarding the arts (autonomism). Still, the most direct criticism of aesthetic autonomy involves the counter-claim that the value of art is extrinsic, pertaining to some function or otherwise involving reference to extra-aesthetic ends. Such criticism could be presented from either an instrumentalist or a pragmatist perspective. Furthermore, it might also be argued that proponents of aesthetic autonomy unreasonably insulate art and the aesthetic from its all-too-human, social context.